DOI Page / Citation link:
https://doi.org/10.11588/diglit.22423#0145
Letter XXIV.
BLENHEIM PALACE.
133
forms, and the feebleness of the drawing, particularly in many of
the feet, indicate the style of Alessandro Varotari, called II
Padovanino, born in 1590, died 1650; by which master these
are, however, comparatively careful and select works.
An English connoisseur has since drawn my attention to the
fact that the compositions of these pictures belong to Perino del
Vaga, and have been engraved by Caraglio. Titian, however,
was in every way too great a master to condescend to work from
the compositions of another painter, and especially of one so
inferior to himself. It is therefore more probable that Padovanino,
who was so limited in powers of invention, painted these pictures
from Caraglio's engravings.
On one of the walls of the same room is—
Rubens.—20. The Rape of Proserpine. This picture, about 6
ft. 8 in. high, and 13 ft. wide, is in every respect one of the capital
works of the master. In the group of Pluto, who, on his car drawn
by spirited brown horses, is carrying off the struggling goddess
in his vigorous arms, that power of seizing momentary bursts of
feeling is manifested in the highest degree. The forms too are
far more decided, more slender, and less extravagant than is often
the case. This is particularly evident in Proserpine and her
attendants, which latter are endeavouring in vain to hold her back.
We recognise among them Minerva, Venus, and Diana. The
latter is distinguished by a beauty of form seldom met with in
Rubens. The flesh too is throughout of a light subdued tone.
Cupid, victorious, flies before the car. The blue sea, warmly
illumined by the sun, forms a grand termination to the back-
ground. This masterpiece was probably painted by Rubens in
the first years after his return from Italy, and is executed through-
out with the greatest care by his own hand.
In 1850 I accompanied Dr. Chaffers, with other friends, in a
second visit to Blenheim, where I enjoyed the treasures of art
there preserved the more for being already acquainted with them.
On another lovely summer's day I accompanied Mr. Murray,
with my friend Passavant and Mr. Peter Cunningham, to Ditchley
Park, the seat of Viscount Dillon, in Oxfordshire. The beautiful
park and well-kept pleasure-grounds surround most delightfully a re-
sidence in the Italian style. Among a number of pictures distributed
in various apartments I found the following worthy of notice :—
BLENHEIM PALACE.
133
forms, and the feebleness of the drawing, particularly in many of
the feet, indicate the style of Alessandro Varotari, called II
Padovanino, born in 1590, died 1650; by which master these
are, however, comparatively careful and select works.
An English connoisseur has since drawn my attention to the
fact that the compositions of these pictures belong to Perino del
Vaga, and have been engraved by Caraglio. Titian, however,
was in every way too great a master to condescend to work from
the compositions of another painter, and especially of one so
inferior to himself. It is therefore more probable that Padovanino,
who was so limited in powers of invention, painted these pictures
from Caraglio's engravings.
On one of the walls of the same room is—
Rubens.—20. The Rape of Proserpine. This picture, about 6
ft. 8 in. high, and 13 ft. wide, is in every respect one of the capital
works of the master. In the group of Pluto, who, on his car drawn
by spirited brown horses, is carrying off the struggling goddess
in his vigorous arms, that power of seizing momentary bursts of
feeling is manifested in the highest degree. The forms too are
far more decided, more slender, and less extravagant than is often
the case. This is particularly evident in Proserpine and her
attendants, which latter are endeavouring in vain to hold her back.
We recognise among them Minerva, Venus, and Diana. The
latter is distinguished by a beauty of form seldom met with in
Rubens. The flesh too is throughout of a light subdued tone.
Cupid, victorious, flies before the car. The blue sea, warmly
illumined by the sun, forms a grand termination to the back-
ground. This masterpiece was probably painted by Rubens in
the first years after his return from Italy, and is executed through-
out with the greatest care by his own hand.
In 1850 I accompanied Dr. Chaffers, with other friends, in a
second visit to Blenheim, where I enjoyed the treasures of art
there preserved the more for being already acquainted with them.
On another lovely summer's day I accompanied Mr. Murray,
with my friend Passavant and Mr. Peter Cunningham, to Ditchley
Park, the seat of Viscount Dillon, in Oxfordshire. The beautiful
park and well-kept pleasure-grounds surround most delightfully a re-
sidence in the Italian style. Among a number of pictures distributed
in various apartments I found the following worthy of notice :—